The Chronicles of Narnia: The Lion, the Witch, and the Wardrobe
Music composed by
Harry Gregson-Williams
Available on WALT DISNEY RECORDS (61374-7)
Running Time: 70:55
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I make no apologies for saying that C.S.
Lewis’ Narnia books are very dear to my heart. I grew up with them and they
carry profound memories for me. Those stories influenced my thoughts, my
beliefs and probably most fundamentally, my imagination. So when it was
announced that a big screen production of The Lion, The Witch and the
Wardrobe was in production, I was filled with a sense of both potent
anticipation and apprehension. Thankfully the movie was being produced in the
wake of the extraordinary Lord of the Rings films, but my hopes for this
adaptation were very much in the balance as I awaited its release.

And of course, because of my great love and
interest in film music, the score would be crucial if the translation from page
to screen was going to be successful. The choice of Harry Gregson-Williams was
a difficult one to assess. While his music for the two Shrek movies
showed promise and he was once again re-teaming with the director of those
films, Andrew Adamson, I couldn’t be sure that he would find the right kind of
sound and style to capture the unique magic and majesty of the world of Narnia.
The best indication he was up to the task was Ridley Scott’s Kingdom of
Heaven (2005), but Narnia needed something all of its own, a distinct sound
that was its own thing.

Now that I’ve seen the film twice and
listened to the score many times, I find myself wondering why this soundtrack
has not won more plaudits from the film score community. It is truly wonderful,
inventive and melodically beautiful film music. I have heard complaints
concerning the composer’s stylistic choices, a little bit of electronics here
and there the main gripe, but generally the response to this work has been
fairly muted. And I find that quite simply baffling. The more I read the less
enthusiasm there appears to be for this work. So all this leaves me to do is
shout all the louder about its quality. Yes, Gregson-William’s style is modern
and the story is a period piece (at least at first), but this tale is all about
magic and the music of magic should sound both dark and joyous, stirring and
tragic. Harry Gregson-Williams achieves all of this with aplomb, as far as I’m
concerned. But of course, appreciation of such things is a personal thing. I
won’t even bother discussing individual cues. The score is a delight from
beginning to end. The only shadow of a question mark falls over the four songs
included. One, ‘Where’, by Lisabeth Scott, (co-written by Gregson-Williams)
forms part of the score itself and is quite lovely. Alanis Moriesette’s
‘Wunderkind’ is a solid ballad and is perfectly welcome and the same can be
said of Imogen Heap’s ‘Can’t Take it in’. Only Tim Finn’s ‘Winter Light’ seems
out of place, but passes by harmlessly without causing any real concern.

Simply stated, this is my favourite score
of 2005. For the nay-sayers, we are all entitled to our own pleasures. This one
is mine. I wish you all the best with your own.

Mark Hockley

5

Michael McLennan adds:-

Anno Domini 2005 has certainly been the
year of Harry Gregson-Williams, with two high profile blockbusters turning to
the late Media Venture’s most impressive graduate for their scores. While the
breath-taking Kingdom of Heaven benefited enormously from his inventive
musical choices – such as the use of the Consort of Viols and the consistently
well integrated choral contributions – the Narnia score doesn’t seem to
fit its film nearly as well. In hindsight I suspect the Disneyfied adaptation
of C S Lewis’ classic novels weighs the music down in context, as on CD there’s
some marvellous material here. The duduk gives voice to Tumnus’ flute in
the potent ‘Narnia Lullaby’, while electric cello lends the right frosty tone
to Lucy and Tumnus’ hesitant first encounter in ‘Meeting Mr Tumnus’. Three
strong themes drive the score – a theme for Narnia unfolds with choral and
intimate instrumental splendour in ‘The Wardrobe’. Peter’s heroism bursts forth
impressively in the brass in ‘To Aslan’s Camp’, and less-successfully in the
poorly mixed ‘The Battle’. These and the Family theme are recapped with all the
major elements of the score in the concluding score track hopefully-titled
‘Only the Beginning of the Adventure’ (hopefully with a new director).